We briefed this as the calm full-stop to the Ramayana: after the war scrolls, the Pattabhisheka is a still, symmetrical durbar, so central-deity grammar is the only honest way to frame it. Rama and Sita sit dead-centre on the throne under a flowering arch, attendants mirrored left and right, and the whole composition holds its breath. The two beats that matter most sit low — Hanuman kneeling with joined palms, and the consecration kalash pots on the platform — so the eye reads king, then devotee, then rite. Medium-light fill keeps the vermilion ground open above the arch so the throne reads as the centre of a quiet court, not a crowd; flat indigo Rama against the red, with chrome-yellow thrones and white halos, does the dignity the Nakashi way without a touch of shading.